On Set Destruction in Filming
~'Set Destruction' Before we delve into the fiery depths, by definition what is set destruction? On film, a set is a scene or an accumulation of grouped scenes whose performance requires serious logistical planning and a considerable expenditure of finances to create the environment in which the actors play out their roles. This also includes the use of scale models. Scale models are most generally a physical representation of an object, which maintains accurate relationships between all the important aspects of the model, although absolute values of the original properties need to be preserved. This enables it to demonstrate some behavior or property of the original object without examining the original object. If a detailed three dimensional model shows up on film it should be prepared for a short life span, or at least to receive heavy damage. Sometimes it’s a Chekov’s Gun, but usually it’s just present throughout the story and happens to get destroyed in the course of the narrative. In essence, converging the ideals or what is defined informs us it is a particular scene occurring on film in a state of being demolished (i.e. scale model, interior or exterior of the set), and most notably, seen in Quo Vadis (1951), Ben-Hur (1959) and The Last Days of Pompeii (1960). ~''Quo Vadis'' (1951) ] The scene opens with the mad Emperor Nero atop his palace accompanied by his entourage. In the distance the city burns as Nero dances playing his lyre singing at the top of his lungs at the spectacle before him. The court stands in awe, some in horror as realistic plumes of black smoke rise into the heavens above Rome. To accomplish this cinematic feat on film director LeRoy assembled a scale model of the city of Rome inside a three hundred foot square tank. Three hundred alcohol burners were used to destroy the model, along with eighteen gasoline burners which sent flares as high as twenty feet into the air. This scene alone cost a total of one hundred thousand dollars, a mind-boggling sum at the time of filming. To aid into the success of this scene LeRoy employed a crew of twenty men to coordinate the thousands of gallons of flammable liquid which had to be mixed and piped to various areas of the set as needed for dramatic effect. This dynamic sequence required a total of three months and twenty four nights to film. In Quo Vadis, the primary encounter of on-set destruction is the rising action or climax of the film, represented with the city of Rome seething in red-orange hue. Truly, a “worthy of the spectacle, as the spectacle is worthy of" Quo Vadis (Big Screen of Rome, pg. 21, 4th para.). ~''Ben-Hur'' (1959) ]The techniques utilized during the sea-battle include model boats resembling Roman naval designs with careful attention held to traditional realistic appearance of the ships used in antiquity. A massive three hundred foot water tank was used to depict the open ocean for the battle itself, which was filled with blue chemicals. The scale models captured the illusion of an intense sea-battle as the Roman military and Macedonian pirates engage in naval combat. Fire-balls and ballistae are launched against the opposing factions and ships ram against one another in a fight for survival. We find Ben-Hur (Charlton Hesston) aboard a Roman ship as a galley slave during the battle, one of the pirate ships rams the Roman galley. The scene is a set filmed from inside the galley’s hull the bow of the pirate ship pierces the roman vessel. The camera tilts to emphasize the impact of the enemy ship, wood splinters and flies about the scene, the roman quarter masters flee as slaves attempt the save themselves from the ocean water which pours through the enormous hole in the side of the ship. ~The Last Days of Pompeii'' ' '''(1960) In The Last Days of Pompeii, the film captures the spectacle of the eruption of Mount Vesuvius, where the approach is illustrated: 1) scientifically, a papier mache of Mount Vesuvius to recreate a volcanic eruption needing red food dye, warm water (acts as an eaccelerat), Bicarbonate of Soda, and Vinegar; or 2) ingenuitively, using demolitions and a detonator, placing a pile of explosives and mound of dirt, and thus generating a life-like visual of an erupting volcano, depending on the choice or perspective of the directors discretion. Now, penultimate scene features an earthquake laying Pompeii under siege, the on set destruction is visible as the pumice, ash and collapsed buildings rain down on the people escaping.